Chris and Rihanna are back together

A source of People magazine told that Chris Brown and Rihanna are back together.

Nearly three weeks after the couple split over a fight that allegedly escalated to violence and a felony arrest for Brown, sources tell the mag they’ve patched things up.

"They're together again. They care for each other," says the source who added, "While Chris is reflective and saddened about what happened, he is really happy to be with the woman he loves."

The pair is reportedly spending time together at one of Sean "Diddy" Combs’ homes.

"Jonas Brothers: The 3D Concert Experience" Premiere

Joe Jonas, Demi Lovato, Nick Jonas and Kevin Jonas appear at the premier Walt Disney Picture’s "Jonas Brothers 3D Concert Experience" at the 'El Capitan Theatre' on February 24, 2009 in Los Angeles, California.

8 Oscar Award Winner 'Slumdog Millionaire' Child Stars Come Back Home to India

Eight oscar winner movie 'Slumdog Millionaire' child actors come back home to India after attending the Academy Awards and a memorable trip to the U.S. They will remember for the rest of their lives are magical things that happened to the child stars of 'Slumdog Millionaire'. 'Slumdog Millionaire' won 8 Oscars including Best Director and Best Picture. Indian music sensation A. R. Rahman won 2 Oscar Award for best original score and best song for 'Jai Ho'.

Here are some exclusive arrival pics of Azharuddin Mohammed and Ayush Mahesh Khedekar, who played young Salim and Jamal in the movie 'Slumdog Millionaire'.

'Dostana' Movie Review

Cast: Priyanka Chopra, Abhishek Bachchan, John Abraham
Direction: Tarun Mansukhani
Music Director: Vishal Shekhar
Critics rating: ***1/2
Release Date: November 14, 2008

'Dostana' essentially employs the comedy of errors code, though not in terms of mistaken personalities but preferences. Karan Johar extends his legacy of kanta-ben humor as the crux of the story.

The setting is in Miami where Samir (Abhishek Bachchan) and Karan (John Abraham) almost turn homo in quest for a home. Together they pose as a gay couple to gain rental accommodation in a swanky apartment owned by Neha (Priyanka Chopra). Neha has no qualms about sharing her flat with the male duo thanks to their happy-and-gay ways. The trio team up to become the best of buddies.

Friendship expectedly ends up into love in Bollywood and, as anticipated, Samir and Karan are both besotted by their beautiful roommate. Since Saajan styled sacrifices are no more the order of the day, this love triangle evades the path followed by Amitabh and Shatrughan in Yash Johar’s 3-decade-old Dostana . Son Karan Johar prefers traversing the David Dhawan track of one-upmanship from films like Deewana Mastana and Mujhse Shaadi Karogi .

While each one attempts to outdo the other, their competition is only multiplied with Neha falling for her colleague Abhimanyu (Bobby Deol). As one thing leads to another the film reaches a wild climax.

Dostana would have ended up as a regular love-triangle if not for the intelligently-incorporated gay angle. Furthermore it survives significantly and skillfully throughout the film springing up smart surprises every now and then. Amongst the best of the gay gags is Kirron Kher’s scandalized outlook towards her son’s (Abhishek) gay relationship and subsequently coming to terms with his partner-preference. The cultural spoof that ensues is hilarious and the wacky conceptualization of the uproarious song ‘Maa-Da-Laadla’ deserves brownie points.

The actual story initiates in the second half and the screenplay adopts a multi-dimensional approach with sufficient twists and turns that steers away any monotony. It starts as a tug-of-war between Abhishek and John but soon the duo team up to outshine potential contender Bobby. This ensures cordial chemistry between the male leads. As the scene gets all emotional in the pre-climax, the film opts for a time-leap exactly like Kabhi Alvida Na Kehna . And while you foresee the end much before it actually arrives, the feral finish makes up for the predictability.

While Tarun Mansukhani proves his credentials as a competent writer and director, he also has a keen eye on exploiting the best from his cast. For all desi gals who have been drooling over Daniel’s derriere, John ‘flashes back’ with a hint of his butt cleavage. For a change a Hindi film heroine admits to her real age onscreen. That’s modesty! And Abhishek never ever gets off his shirt. That’s self-realization! However a Shilpa Shetty item number isn’t the best of ideas to kick-start a film, which you easily overlook as the story takes over.

High on technical proficiency, the cinematography by Ayananka Bose is menthol-cool and the casual clothing line by Aki Narula and Manish Malhotra complement the characters perfectly. Vishal Shekhar’s musical score is groovy though brutally techno at times. The background score comprising of ‘What the *uck’ sounds and also deriving from Jahan Teri Ye Nazar Hai (Kaalia) support the screen antics ably.

The screen chemistry between the Abhishek-Priyanka-John trio is palpably cozy. Priyanka Chopra looks gorgeous and is perfectly poised in her performance. She never under-acts or goes over-the-top. John has more to show-off than his chiseled physique. He is easygoing in his role of the dominant male. Abhishek Bachchan is splendid in his sissy act (in the initial reels) and even otherwise is impressive. Bobby Deol thankfully underplays his character. Boman Irani is accurate in his gay act though his petty portion was avoidable. Kirron Kher repeats the Om Shanti Om act with precision.

Dostana redefines the ‘ feel-gud’ genre and makes up for some ‘homo-genius’ entertainment.

News Source: http://timesofindia.indiatimes.com

'Quantum of Solace' Movie Review

Star Cast: Daniel Craig, Olga Kurylenko, Mathieu Amalric
Director: Marc Foster
Rating: ***
Release Date: November 7, 2008

"The name’s Bond... James Bond" which has been the ‘trademark’ introductory note of Ian Fleming’s sexy British secret agent 007 (that has had women across the globe go weak in the knees) has been surprisingly evaded in Quantum of Solace. Let alone the exclusion of this popular dialogue, Quantum of Solace doesn’t even begin with the "James Bond signature Theme" played in the background as the opening credits start rolling. Add to this Bond’s (Daniel Craig reprises his role of Bond) disinterest in seducing gorgeous women with his charm and then bedding them.

German-Swiss filmmaker Marc Foster makes it very clear right from the beginning of Quantum of Solace that this Bond flick will break away from all the Bond clichés, the very ones which have given Bond its unique identity.

The sexual tension that Bond so impressively manages to create with his women and the flirtatious banter he has with them takes a backseat and the film rides high on him seeking the revenge of the death of his beloved Vesper (Eva Green in Casino Royale) though he tries hard to show his mission as strictly ‘professional’ and not ‘personal’. His heartbreak and agony makes him ruthless thus forcing him to largely exercise his license to kill.

Foster plays a big gamble by taking humour and sex out of Bond’s life but fairly succeeds in keeping his character interesting and intriguing as ever.

Coming to the story of the film, Quantum of Solace picks up where Casino Royale left off. The film begins with a heart-thumping car chase where Bond in his Ashton Martin is being chased by a troop of gunned villains leaving you breathless. This is only one of the many dangerous chases Bond gets involved in. From one breathtaking stunt to another, Quantum manages to keep you on the edge of your seats, all thanks to its brilliant technical stunt team. The second chase shot in Sienna, Italy is the highlight of the film, where Bond jumps and runs across rooftops, race course, church tower and finally the church bell at a terrific speed to catch hold of a traitor who secretly works for an organization ‘Quantum’ involved in various devious activities. Quantum is headed by Dominic Green (Mathieu Amalric, effective) who in the pretext of being a philanthropist is actually conspiring to take total control of the world’s most important natural resources. He is also the man involved in Vesper’s death.

As he chases Green, he bumps into a feisty Camille (Olga Kurylenko) who has her own score to settle with Green’s partner in crime General Medrano. Together the two set on a mission to kill their culprits without sleeping with each other (very unlike Bond). Bond defies all orders given by M (Judy Dench, impressive) as he is hellbent on tracking down Green.

Quantum highly scores as far as the impeccably shot high octane stunt scenes and effective performances are concerned. However the villain Green comes across as terribly underpowered when compared to Le Chiffre (Mads Mikkelsen) in Casino Royale and that’s where Bond’s character looks unreal as every time Bond is shown single handedly getting rid of his opponents, irrespective of their presence on land, water or air, that too with his sheer physical prowess minus much help from his hi-tech gadgets. His banter with M is also highly missed in the film. The Bond girls Olga and Gemma both somehow fail to match up to Eva’s screen presence and sex appeal.

Daniel Craig as Bond is simply impeccable. From being heartless, humourless, and ruthless to being sensitive, caring and vulnerable...he displays all facets of Bond’s personality with ease and we would want to see him playing James for many Bond installments to come. Daniel is in great shape and looks terrific too.

Quantum is definitely worth a watch, not only because it is a Bond film but because it has Daniel Craig playing the Bond.

News Source: http://timesofindia.indiatimes.com

Movie Review of Fashion (drama)

Cast: Priyanka Chopra, Kangana Ranaut, Mughda Godse, Arjan Bajwa
Direction: Madhur Bhandarkar
Music Director: Salim-Suleiman
Critics rating: ***1/2
Release Date: October 31, 2008

WITH Chandni Bar, Page 3, Corporate and Traffic Signal behind him, director Madhur Bhandarkar has developed a trademark style of film making which has the word `realistic' incessantly tagged on to it, by both the viewers and the industrywallahs. Well, Bhandarkar's oeuvre may not exactly fall into the classic cinema verite cult, nevertheless, it does try to bridge the gap between art house cinema and mainstream masala with its declaration: Are you ready for the bitter truth? Yup.

Each time the filmmaker picks up a subject, he proposes to do an expose on a particular segment of society. And each time, there is a dogged attempt to reveal the underbelly: ugly, festering and foul. Fashion too falls prey to this inbuilt bias of the director's creative vision and introduces a degree of predictability in the plot. The first half of the film is a relentless replay of all the cliches one would associate with the world of glamour. Small town girls need to shed their middle class morality before they can scale the ladder of success.

Successful models are sad, lonely, broken people, addicted to drugs, alcohol, cigarettes. Godfathers are cruel, manipulative, exploitative. And last but not least, Brokeback Mountain isn't just a film for male fashion designers; it's a lifestyle statement for most of them.

Mercifully, Fashion isn't about cliches alone and manages to transcend them with it's moving tale of three women who try to maintain their honour, dignity, identity in a cruel world that spills over with grime behind the glamour. The film not only takes you behind the psychedelic ramp, it travels through the dark inner recesses of the three lead characters, laying bare their strengths and weaknesses; their fears and hopes; their dreams and nightmares.

If Meghna Mathur's (Priyanka Chopra) journey from Chandigarh to Mumbai is a tortuous coming-of-age sojourn for a small town girl who dreams to become a super model, then reigning diva, Shonali Gujral (Kangana Ranaut) travels through her own personal inferno, ending up totally singed when the arc lights fade. Between them is Janet Sequeira (Mughda Godse), the high on EQ model who chose to make her own compromises by giving up her career and settling down in a faux marriage with her gay designer friend, Samir Soni. Three distinct women who make a choice between success and failure, sanity and insanity, life and loneliness...and create a sensitive parable on bonding and empowerment.

Dramatically, it's Priyanka's journey that is the most comprehensive as it tackles her growth from an ambitious, young girl to an arrogant model who fails to handle her success, crumbles and then rises again, like the proverbial Phoenix. The actress delivers a competent performance and yet, has tough competition from the other two girls.

Debutante Mughda pitches in a confident portrayal of the sweet and sensitive buddy. But the show stopper (read scene stealer) is crazy, kinky, Kangana who does an exquisite metamorphosis from a wispy, high-strung, nervous child-woman to a stunning ramp diva. Watch her handle her wardrobe malfunction, make faces at her nagging manager or exchange bitter workplace truths with rival Priyanka in the ladies' washroom and you'll realise she's perfected the Girl Interrupted act after similar roles in Woh Lamhe, Life in a Metro and Gangster . The men? No place for them, specially since the women completely overshadow them.

Of course, the film desperately needs some tight editing to cut out the flab. Nevertheless, go, witness woman power, in all its agony and ecstasy.

News Source: http://timesofindia.indiatimes.com

Movie Review of Golmaal Returns (comedy)

Cast: Ajay Devgan, Kareena Kapoor, Arshad Warsi, Tusshar Kapoor, Shreyas Talpade
Direction: Rohit Shetty
Critics rating: **
Release Date: October 31, 2008

DUMB seems to be getting dumber. Funny is beginning to feel unfunny. And Bollywood's current tryst with comedy isn't quite `Welcome' anymore.

Of course, the first Golmaal itself wasn't a high IQ exercise, with its tale of overgrown college students ending up in a blind couple's house. But there were some robust moments of sheer fun along with some crackling chemistry between the foursome: Ajay, Arshad, Sharman, Tusshar.

Here, talented Sharman Joshi has been replaced by also-talented Shreyas Talpade and Kareena Kapoor, basking in the success of Jab We Met , has been added to enhance the star value of the film. Ironically, the silicone shots don't seem work, as the film keeps sagging to unlimited depths, thanks to a no-brainer script and some really bad acting.

First the script. Ajay Devgan has an extended family which includes his couch potato wife, Kareena, his bimbette sister, Amrita Arora and his dumb brother-in-law, Tusshar Kapoor. Wife Kareena is an inveterate serial watcher and draws all her life's mantras from the Kyunki-Kahani soaps of Ekta Kapoor. Naturally, she suspects her husband when he spends a whole night on a yatch away from her. The husband, who had tried to save a desperate girl, ends up spinning an implausible yarn to save his skin.

The rest is one miserable rigmarole, where Tusshar and Shreyas try to infuse some madcap moments in the tedium, while the rest of the people just keep screaming and running.

It's quite sad to watch seasoned actors like Ajay Devgan and Arshad Warsi goof up in comic roles that they managed to carry off with elan in the earlier film. Shreyas, once again, displays his sense of comic timing, visible in Dor , while Tusshar proves that his dumb act in both the films might just end up as his career best.

The girlie brigade is completely unwatchable, especially Kareena who seems to be sleepwalking through the film. Again, sad, since she's such a fine actress and had managed to become the nation's fav girl after Jab We Met .

Ready for a third sequel? Not if it's as brain dead as the second.

News Source: http://timesofindia.indiatimes.com

Madhur Bhandarkar's "Fashion" gets 'A' Certificate

Madhur Bhandarkar is very upset because the Central Board of Film Certification (CBFC) has given his next film 'Fashion' an "A" certificate. Bhandarkar describes 'Fashion' as his most glamorous film. He roped in Priyanka Chopra, Kangna Ranaut, Arjan Bajwa and Mugdha Godse to do lead roles.

'Fashion', which takes a close look at the other side of the fashion world, is due for release on October 29.

Ranbir & Deepika in Sarkar Raj-3

If the rumors are to be believed, Ranbir Kapoor and Deepika Padukone is going to play the lead role of Ramgopal Verma's next sequel of Sarkaar Raaj. Ranbir and Deepika were last seen together in 'Bachna Ae Haseeno' and the filmmakers love to cash in on the off-screen chemistry of the stars.

Ranbir Kapoor's Sister 'Ridhhima'

"Karzzz" Movie Review

Cast: Himesh Reshammiya, Urmila Matondkar, Shweta Kumar, Dino Morea
Direction: Satish Kaushik
Music Director: Himesh Reshammiya
Critics rating: ***
Release Date: October 17, 2008

RULE number one: Don't compare chalk with cheese and you might just end up sitting through this new version of a vintage blockbuster without falling prey to all the extra ZZZZZZs (read yawns) in the title.

Rule number two: Don't dare mention the word `Rishi' when Reshammiya is on screen and you could end up seeing what the man-next-door sees in this singer-turned-wannabe actor who supposedly wowed the aam janta with his debut act in Aap Ka Suroor.

And most importantly, rule number three: go looking for pure masala, with no pretensions of brainy-brawny stuff and you could get your paisa vasool staple diet of unadulterated formula.

Satish Kaushik does try and follow Subhash Ghai's original musical, with a few twists and turns, here and there. Primarily, it is a tried and tested reincarnation story where murdered lover Ravi Verma (Dino Morea) returns to avenge his death as Monty (Himesh Reshammiya), the pop singer who befriends his former wife (Urmila Matondkar) in his new avtar.

While the first half is primarily an extended Reshammiya concert, peppered with song after song, it's the second half that provides some watchable moments of high tension and drama, as Reshammiya weaves his web around the luscious widow, Matondkar.

The music is meant specifically for Reshammiya fans and is actually quite peppy and zany, including the kitschy Tandoori Nights. As an actor, Himesh seems to have moved forward after his wooden act in his first film. He prefers to play it completely straight and goes over the top only in the climax. The high point of the film is Urmila Matondkar who tries to chart a different course as the mean, machiavellian gold digger. Again, do not look for Simi Grewal's super poise in this sultry seductive widow act of Ms Matondkar. New girl Shweta Kumar has miles to go before she can think of a career in Bollywood.

Kitsch kitsch hota hai? Go for Karzzz.

News Source: http://timesofindia.indiatimes.com

Glamourous Jennifer Ellison's Pictures for Sexy 2009 Calendar

The glamourous sexy model, Jennifer Ellison shows off her body in lingeries for the official 2009 calendar photo shoot.

'Journey to the Centre of the Earth' Movie Review

Cast: Brendan Fraser, Josh Hutcherson, Anita Briem
Director: Eric Brevig
Rating: ***

The title pretty much gives an idea of the drive and the destination of this film. Journey to the Centre of the Earth is like those trademark expedition adventures where a group sets out to explore some forbidden territory. In this one the terrain is the centre of earth, a zone not explored before even in films.

The storyline is not out of the world. Prof. Trevor Anderson (Brendan Fraser) teaches at the University and heads the Center of Volcanic Activity. His brother Max had worked on volcanic monitoring systems but never returned from his mission for reasons unknown. After some decoding in Max's copy of a book named ‘Journey to the Center of the Earth’ by Jules Verne, Trevor flies down to Iceland along with his nephew Sean (Josh Hutcherson) to check the monitoring units placed by Max.

They hire a mountain guide, Hannah (Anita Briem), to take them up the dormant volcano. Up the mountain they get trapped in a cave due to lightening. In their quest to get out of the cavern, starts their accidental journey to the centre of the earth. The journey literally begins on a roller-coaster note as they pass through an abandoned mine track on speeding carts. They are trapped deeper in their expedition as the floor cracks and they fall miles down inside a volcano tube till they reach the centre of earth. Once there, they discover the secrets of Max and then set back on a mission to resurface on earth.

Despite the brittle narrative, it’s the execution of the scenes that keeps you hooked to the screen throughout. Eric Brevig has been nominated twice at the Oscars for Special Effects and the visual splendour in his directorial debut is simply stunning. More importantly this is a film where the 3D format is exploited to the maximum effect. Each geological frame of the film livens up as you feel yourself experiencing the escapades with the trio. The encounter with primitive glowing birds and carnivorous plants are imaginative but the 3D effects are best perceived when flying piranhas pop out of the screen, straight on your face. The mine cart ride in the start and magnetic rock path towards the end has its thrilling moments.

Of course some geological logistics do seem improbable like the core of earth having an ocean bed and meeting with thunderstorms and lightening which aren’t scientifically justified. Also there’s an encounter with a T-Rex in the climactic chase which seems too far-fetched. But then my quest for logic in a popcorn flick isn’t as severe as my desire for the best utilization of the 3D format for optimum cinematic experience, even if that needs the extinct dinosaur to be brought back to life.

Despite a one-dimensional plot, Journey to the Centre of the Earth is enjoyable for the three-dimensional effects. Do not opt for the 2D version which would be as average as watching the film on DVD. For once, put on those spectacles for that spectacular experience.

News Source: http://timesofindia.indiatimes.com

'Babylon AD' Movie Review

Director: Mathieu Kassovitz
Cast: Vin Diesel, Michelle Yeoh, Melanie Thierry
Rating: **

Babylon AD comes as a futuristic thriller about genetic manipulation that is marketed as an out-and-out action flick over a science-fiction drama and it ends up unimpressively in either genre.

Toorop (Vin Diesel) is a mercenary who takes up an assignment of illegally immigrating a girl named Aurora (Melanie Thierry) along with her guardian nun Rebecca (Michelle Yeoh) from a convent in Russia to New York. En route Toorop has to save the two from natural threats in the futuristic setting and an unknown group of mercenaries claiming to have been sent by Aurora's supposedly dead father.

Aurora has strange intuitions, operates an old submarine without knowledge and has been speaking 19 different languages since she was 2 years old. On reaching US, Toorop learns that it was not just an ordinary expedition but that virgin Aurora is pregnant with twins who have the potential to be the next Messiahs.

On sci-fi excuse, you are served with ridiculous explanations that a supercomputer was implanted in Aurora when she was a fetus and with genetic manipulation a Neolite group wanted to exploit her as a virgin birth for their religion. Toorop dies for two hours, is revived through cybernetics and continues to save Aurora.

The sci-fi element of the film lacks soul and the action is just too outdated. There are cage-fights and snowmobiles chases but with the wobbling and jerky camera movements, it’s practically difficult to follow the disturbing action. The exact time period is never specified and the futuristic element is extremely incoherent, unnecessary and unconvincing. All you get to see is a Neon-lit New York with electronic messages scrolling on cab doors and a paper-compatible Google Earth. Otherwise cola brands continue to be the same and chases happen in present-day Range Rovers.

The end is abrupt and unintelligent leaving behind a lot of loopholes and several questions unanswered. There’s no mention of the high-priestess of the Neolite group or her quest for virgin birth. What was the relevance of the racially different twins? Why was the Russian mercenary Toorop banned in the US with a terrorist tag? Perhaps that’s got to do with the sizeable amount of footage that has reportedly been edited from the final version by the producers following which director Mathieu Kassovitz disowned the film.

Clearly you don’t feel any sense of belonging with the film. Michelle Yeoh is miscast as a Chinese nun in Russia with martial arts skills. And this Vin Diesel film lacks fuel for decent entertainment.

News Source: http://timesofindia.indiatimes.com

'Hello' Movie Review

Cast: Sharman Joshi, Sohail Khan, Gul Panag, Isha Koppikar, Amrita Arora
Special Appearance: Salman Khan & Katrina Kaif
Direction: Atul Agnihotri
Music Director: Sajid-Wajid and Salim-Suleiman
Critics rating: *
Release Date: October 10, 2008

I always wondered when audiences complained how cinematic adaptations of international bestsellers never reached up to the preconceived expectations of the literary work. Back in India we never encountered a similar scenario since filmmakers barely attempted adapting contemporary literature. But with Hello director Atul Agnihotri reinstated the theory of prose over picture.

Not that Chetan Bhagat’s novel One Night at a Call Centre was an exceptional piece of literary brilliance. Anyone who has read the book will consent that the writing was filmi to the core and always had the trappings of a Bollywood drama. But while interpreting the manuscript to screenplay, Agnihotri fails to capture the finer nuances of the writing.

Agnihotri composes a cinematic preface in the form of a garish Salman Khan item number. Khan substitutes for Bhagat’s presence in the novel and his chance meeting with a mysterious girl (Katrina Kaif) is upgraded from a train compartment to a helipad terminal. The girl barges from nowhere and insists on narrating a story. Sadly she gives away the climax before starting her story enlightening it’s about God’s phone-call to six call-centre employees.

The potential team leader of the call-centre group Shyam (Sharman Joshi) has recently broken off with colleague Priyanka (Gul Panag) who is on the verge of marrying an NRI. Varun (Sohail Khan) has a crush on ambitious Esha (Isha Koppikar) who is willing to compromise to any extent to make it big in the fashion world. Radhika (Amrita Arora) is a battered housewife and Military Uncle (Sharat Saxena) is estranged from his US-settled son. Like all employees they hate their boss Bakshi (Dalip Tahil) who has got notice to sack a sizeable chunk of the staffers.

Then one night they meet with an accident and while dangling for life, they get a call from God. What follows is a divine discourse on ethics, morals, self-confidence, et al as the prolonged lecture by the Lord is backed with background score derived from Aastha channel and Miraclenet. With an edified outlook the team gets back to work and solves their personal and professional issues before the strike of dawn. This includes getting Bakshi fired in an unbelievably childish approach and saving their own jobs by increasing call volumes through the most ludicrous methods. They spread rumours of a dangerous virus attack to their US customer base (who are reduced to a bunch of incognizant buffoons seeking advice on starting computers or switching off vacuum cleaners) and they panic as if their country was threatened by some alien attack.

Three more writers (other than Bhagat) are employed to pen additional screenplay and dialogues but they only end up tampering the original essence of the book. A highpoint of the literature was how Shyam migrates from the present to his flashback romantic episodes with Priyanka through common connecting elements. The modified screenplay of the film clearly fails to tap that aspect of the novel. Rather what is added is a bald animated inner-soul of Shyam who provokes him into devilish ways. Not to forget the script is crammed with abstract club numbers having multi-coloured airborne models but the outcome is certainly not in flying colours.

The foreign fiancée struggles to fake an anglicized accent while the call centre operators bear none. Sohail Khan serves a sermonizing session on how celebrities are not the real youth icons while elder brother Salman Khan is used to same effect in his topless introductory item number. And what was Arbaaz Khan doing in the film? The characterizations are absolutely shallow and so are the performances.

One Night at a Call Centre was a passable fiction but Hello just made me dislike the novel. Certainly this ‘Hell’-o is not a ‘welcome’ sign.

News Source: http://timesofindia.indiatimes.com